If Robyn didn't make Robyn, we'd have been robbed of the Robyn we know as Robyn. Simple.

The Swedish pop tinkerer's recent repertoire is a gilded array of genre-bending mindfuckery and genuine swagger - her Body Talk trilogy is rife with masterpieces - but it wasn't always like this. 20 years ago Robyn released her debut, Robyn Is Here, and went on to create a slew of slickly produced R&B, Eurodance and lightly funky '70s throwbacks. It's very '90s, blending the worlds of Blu Cantrell and Sophie Ellis Bextor, sounding like the sonic embodiment of the outfits TLC wore in the 'No Scrubs' vid. Not bad, but not exactly Robyn.

With her first few records, Robyn gained modest success across the continent and the UK - Beverly Knight notably covered 'Keep This Fire Burning' from 2002's Don't Stop The Music - and scored typically highly in her native Sweden, but a true 'breakthrough' as such was never achieved while Robyn was shackled to RCA/BMG, and later, Jive (home to Backstreet Boys, 'N Sync, R. Kelly, Aaliyah and Britney Spears).

It wasn't until Robyn, the first release on her own, newly launched label Konichiwa Records, did she become the global innovator we see her as today (well, outside of Sweden, we probably got our first glimpses in 2007/8 upon its re-release with Island/Interscope, but whatever).

The foundations of Robyn's self-titled reinvention became an issue for her then-current label. Jive for some reason took umbrage to her desire to move into a new direction - with the offending article being 'Who's That Girl?', a co-write with The Knife and Alexander Kronlund. Instead of capitalising on the diamond collab, they allowed her to strike out alone on new ventures.

On Konichiwa (which is about to release Zhala's debut long-player), Robyn was able to call the shots and roam free with reckless abandon. Pitchfork described it as "an indie-as-fuck fairytale, freed from proto-Mouseketeer teen-pop servitude...," and far from shying away from the challenge, Robyn rolled up her sleeves and dove in alongside friends Klas and Joakim Åhlund, Patrik Berger and more.

With her newfound creative control, Robyn bestowed upon our ears a dazzling salvo of melodic magic. 'Be Mine!' is a juttering string-led belter with hooks consigned to the annals of pop; 'With Every Heartbeat' rewrote the codex on heartache and soundtracked breakups worldwide. 'Handle Me' is a righteous paean to 'seeing clearly through douchenozzle bullshit' dolled up like a tearjerk tune and draped in self-affirmation. Like so many of Robyn's later tracks, it's about inner strength and doing what's right for you.

Some oddities stick out though: the UK bonus track 'Jack U Off', a vaudevillian reimagining of the Prince tune of the same name, 'Should Have Known', a sweary ballad from her previous record, and 'Cobrastyle', a cover of Teddybears' dancehall-punk original. Her version, while retaining the same lyrics, is almost unrecognisable due to a hurricane of locomotive beats and sticky-sweet earworms. These aural quirks aren't of detriment necessarily, but bolster Robyn's stake as a true pioneer of her craft, dabbling with the breadth of tools at her disposal. That Prince cover probably doesn't go down on her 'Greatest Hits' list, but it's nice to see some of the more leftfield experiments Robyn wraps her hands around.

This record marked a distinct lurch into new realms for Robyn, and it set a beautifully dangerous precedent in that being free to do whatever the hell she wanted, we have been able to see the boundaries of the genre pushed beyond the norm: her modern output stretches from hip-hop putdowns ('You Should Know Better') to heartbreak anthems with new points of view ('Call Your Girlfriend') to dub experiments ('Dancehall Queen'). Robyn's a gleefully unabashed, honest entity in mainstream music, happy to tell her objet d'amour to fuck her or fuck off, and about as bluntly too, and a lot of this strutting self-assurance can be credited to the freedoms granted and sounds sculpted on Robyn.

As well as luring legions of new fans, Robyn went to the top spot in her home nation, and scored highly on its eventual release in other territories. It was nominated for a Grammy, ranked by Pitchfork as one of the best records of 2005, ranked by Metacritic in the top 20 of 2008 (the re-release currently stands at 12), as well as the site's top rated pop album of the decade.

But, perhaps the best thing about Robyn's eponymous LP arrives on, for many, the opener to her new world, 'Konichiwa Bitches'. Among her boxing nods, jean-splitting, thinly-veiled kidnap threats and slyly dropped C-bombs, she manages to squeak in one of pop music's greatest verses:

  • Don't I look tasty like a French bon-bon?
  • Even more sweeter than a cherry bomb
  • Coming with the postman like I'm a mailbomb,
  • Coming in your mouth, make you say "yum yum!"